SOUTHERN COMFORT (1981)

Title: SOUTHERN COMFORT

Year of Release: 1981

Director: Walter Hill

Genre: Action, Drama

Synopsis: A group of National Guard soldiers in the Louisiana bayous encounter Cajun locals who have anything but hospitality on their mind.

Within a film history context: Films about the United States National Guard have not been a regular feature of cinema, but have appeared in several instances. One of the most prominent was Irving Pichel's COLONEL EFFINGHAM'S RAID (1946). It was about the eponymous, retired Colonel seeking support to save the town square in his small town. The National Guard are present in scenes toward the end of the film, and also feature a major character who is a member of the National Guard. THUNDERBIRDS (1952), directed by John Auer, had characters drafted into the Oklahoma National Guard who subsequently served in World War II. In Robert Aldrich's ATTACK (1956), matters were of a different nature. Here a section of the United States National Guard was on assignment in Belgium during World War II, with many power plays between members of the infantry. A TIGER WALKS (1964), directed by Norman Tokar, presented the National Guard as the ones poised to shoot a tiger which has escaped from a circus transportation vehicle, but matters take a turn with a Sheriff becoming involved in this pursuit. The 1970s and after brought forth other depictions of the National Guard to the cinema screen.

Horror was the focus of William Claxton's NIGHT OF THE LEPUS (1972). The National Guard are called upon to kill giant rabbits leaving a trail of death and destruction in their wake in this science fiction horror movie. In THE SPOOK WHO SAT BY THE DOOR (1973), directed by Ivan Dixon, the National Guard attempt to curtail a movement founded by a black man which seeks to progress the black cause, but in a largely aggressive manner. Tom Laughlin's THE TRIAL OF BILLY JACK (1974), a continuation of the Billy Jack film series, spotlights the National Guard during the scenes of unrest in the town, and at the school in the movie's most tragic moments. CONVOY (1978), directed by Sam Peckinpah, contained scenes close to the film's end where the National Guard aim to fire at trucker Rubber Duck. In a much more extreme vein, George Romero's horror film DAWN OF THE DEAD (1978) has the National Guard attempting to ward off zombies who are killing human beings at an alarming rate, with mixed success. SOUTHERN COMFORT was dissimilar from, and superior to, these film examples of National Guard characters for various reasons.

It was the first film of its time which was solely devoted to National Guard characters, with only several, but key, supporting non-military characters in the narrative. Unlike the other movies, where the National Guard protagonists were either secondary characters, or called upon to correct a situation gone wrong, such as in A TIGER WALKS, THE TRIAL OF BILLY JACK, and DAWN OF THE DEAD, SOUTHERN COMFORT is unique in that the characters, and their situation, entirely consume the film's running time. The audience is with them the entire way, from their initial introductions at the film's beginning, to the end. The movie takes the time to carefully establish each and every member of its National Guard in SOUTHERN COMFORT, the viewer hence intimately knowing what makes them tick, which gives the film both a thrust, a moving quality throughout, and, especially, at the end. Other features of the movie make it different from the other examples mentioned previously.

As SOUTHERN COMFORT follows a training exercise of the National Guard in the Louisiana bayous, and what happens when one of the crew makes a costly mistake, the film is more realistic than the other films in the genre for several reasons. They are neither there to assist anyone in need, in other words, to be seen as a savior, as in NIGHT OF THE LEPUS, or cast in a negative light, where they are called upon to perform an unpopular deed, such as in THE TRIAL OF BILLY JACK, or CONVOY. They are in the swamps undergoing training, and armed not with heavy machine guns or artillery, but with blanks. This sets SOUTHERN COMFORT apart from others as this lack of arms is what propels the story, and causes the loss of members of the Guard, who cannot retaliate against their enemy with proper weaponry. This not only gives the characters a vulnerability in the face of their opponents, but also adds suspense to the film. Seeing how the unarmed members of the National Guard manage to survive their ordeal is what drives the movie, giving it a bittersweet quality not present in the other examples. The finest movie made about the United States National Guard, and one of the best military-themed movies ever, SOUTHERN COMFORT is an incredible, transfixing cinematic achievement.

Overview: Walter Hill has helmed twenty-one features as a director in his forty-one year career. His movies are generally action-oriented, but interwoven with a strong current of understanding for his characters, thus providing the pictures with a revealing humanistic perspective. Mr Hill's first movie, HARD TIMES (1975) was a Charles Bronson vehicle with Mr Bronson as a boxer during the American Great Depression. Next came THE DRIVER (1978), the story of a man who drives getaway cars from robberies, but with a detective hot on his trail. One of Mr Hill's most recognized works was THE WARRIORS (1979). A futuristic tale of gang warfare in New York City, it was notable for its violent content, but also, introducing many new actors to the screen. Mr Hill then traversed into western territory with his fourth movie, THE LONG RIDERS (1980). The retelling of notorious criminal Jesse James' life and his exploits with fellow members, it was also of interest for starring three of the Carradine acting brothers in main roles, being David, Keith, and Robert Carradine. Walter Hill had a great box office success with action comedy 48 HRS. (1982). Starring Eddie Murphy at the height of his fame as a paroled con assisting seasoned policeman Nick Nolte with a case, it was a popular movie that later led to a sequel with the same actors and director, ANOTHER 48. HRS (1990). Further into the 1980s, Mr Hill made a variety of projects which had mixed results at the box office.

STREETS OF FIRE (1984) was a musical starring Michael Pare, while BREWSTER'S MILLIONS (1985) was a comedy with Richard Pryor in the lead role. Mr Hill made another foray into films with a music background in CROSSROADS (1986), this time with a blues theme. It was back to action in EXTREME PREJUDICE (1987), charting the relationship of a ranger and a drug lord who were friends, but now bitter enemies. Shades of 48. HRS appeared in RED HEAT (1988), this time being a Russian policeman teaming with a detective to bring a drug kingpin to justice. Crime, though, was the main topic of JOHNNY HANDSOME (1989). Centering around a criminal who cannot quench his thirst for revenge, it starred Mickey Rourke in the main part, with support from Ellen Barkin and Morgan Freeman. Into the 1990s and beyond, Walter Hill's films were as diverse as his previous efforts. 

TRESPASS (1992) was similar to THE WARRIORS in that a gang was featured, in this instance consisting of black men, but their opposition in this case were two firemen, with plenty of intrigue and suspense abounding. Mr Hill again traveled through historical territory with GERONIMO: AN AMERICAN LEGEND (1993), which looked at the American Indian chief and his clashes with the government. Another portrait of an American historical figure could be found in WILD BILL (1995), with Jeff Bridges as the iconoclastic Wild Bill Hickok, also spotlighting others such as Calamity Jane, played by Ellen Barkin. The Prohibition Era of the 1920s and 1930s was brought to life by Walter Hill in LAST MAN STANDING (1996), with Bruce Willis as a criminal caught in a war fought between Italian, and Irish Mafia. Into the new millennium, Mr Hill then took a plunge into science fiction with SUPERNOVA (2000), starring James Spader and Angela Bassett. His final movie thus far, THE ASSIGNMENT (2016), covered a man who becomes a woman via reassignment surgery, and plots revenge on the person who put him in this situation. Walter Hill's fifth film, SOUTHERN COMFORT, was one of Walter Hill's most distinctive movies, and also, one of his best-ever films.

A pungent tale of survival in the Louisiana bayous by a group of National Guard soldiers, SOUTHERN COMFORT is a spellbinding viewing experience from start to finish. Walter Hill achieves this in several ways. He dives the spectator into the film without hesitation, introducing the characters who play a role in the narrative in a naturalistic manner. One discovers what they need to know about them, and how their particular mindsets will either assist, or hinder them during the course of the film. The low-key, casual conversations between the characters, the observations they make about what they are caught up in, are all utterly fascinating to witness, and paint a proper canvas for them. They are all three-dimensional characters who could exist in reality, their interactions extremely vivid. This is something the film has in common with other Walter Hill movies such as THE LONG RIDERS and 48 HRS. Other qualities of SOUTHERN COMFORT are also pleasing to mention.

The pacing of the story is also something to behold, with many unexpected surprises occurring that take the viewer unawares. When one thinks matters will go one way, they go in another direction. This only emphasizes how SOUTHERN COMFORT is never predictable. It does not follow the route of other movies which delight in seeing their characters dispatched just for cheap thrills, or visual spectacle. Each and every death in the movie is shocking to witness, but even in this department, the movie is quite spare. SOUTHERN COMFORT cuts away from death scenes early, proving that what is not shown on screen can be even more devastating to the audience. The mind can conjure up worse visions with a minimum of effort, and the film is all the better for this. Walter Hill is to be credited for this, and every area of the film, for making a thoroughly well-executed motion picture which never goes too far, and does hold back when it really counts to its advantage. One of Walter Hill's best films, and an excellent military-themed movie, SOUTHERN COMFORT is a one-of-a-kind viewing experience.

Acting: SOUTHERN COMFORT has a unique cast of actors who bring true life to the film. Keith Carradine, as Spencer, has a charm, sense of serenity, and way about him that works to the movie's benefit. With his floppy blonde hair and easy-going manner, Mr Carradine is a telling contrast to Powers Boothe's Hardin. Powers Boothe, as Hardin, Spencer's best friend, is equally excellent. A performer with a penetrating stare that says so much without having to utter a word, Mr Boothe is the movie's fascinating incarnation of someone whose survival instinct, and sharp intuition, is his raison d'etre in life. The friendship of Spencer and Hardin is the foundation upon which the film rests, and it is a testament to the actors that their chemistry came through with such clarity. The backwards and forwards of their friendship is realistic to watch, and one of the movie's best qualities. Alan Autry, as Bowden, is another great performer. Playing a mentally unbalanced character is never an easy task, but Mr Autry carries this off to perfection, making the viewer empathize with him even during his most testing moments onscreen. His expressive visage makes his emotions evident for the audience to discern without the use of dialogue. Five other actors are worthy of mention for their contributions to SOUTHERN COMFORT.

Fred Ward, as the mean, hard-faced Reece, also gives a great account of himself in SOUTHERN COMFORT. The movie's best villain is utterly watchable at all times, and one does feel sympathy at his fate in the film, despite his previous insidious actions. Les Lannom is also excellent as the grasping Casper, who tries to wrest control over the others, but is not supported in his quest to be leader. Franklyn Seales, as the passionate Simms, delivers a moving performance. His final scenes are some of the most affecting in the movie, and Mr Seales gives it his all. Lewis Smith, as the excitable Stuckey, who initiates the action in the movie, as with Mr Seales, also makes his scenes count, especially his demise, making this surprising twist of events thoroughly horrific to witness. The final acting of note in SOUTHERN COMFORT was by T.K. Carter as Cribbs. Mr Carter's sense of humor, and natural manner, work as a foil to the more serious characters, and his fate is one of the movie's most shocking moments.

Soundtrack: SOUTHERN COMFORT has a lean soundtrack, mainly consisting of Ry Cooder's haunting instrumental score which is played during the film's opening, and closing credits. Parts of the soundtrack are used throughout the movie at irregular intervals, which works well as it heightens suspense without ever being overused. The other main use of music is in the last part of the film during the Cajun town scenes. The music here during the Cajun song and dance sequence is utterly excellent, contrasting the heightened dramatic scenes which juxtapose the merriment. 

Mise-en-scene: As the film is overwhelmingly set in the Louisiana bayous, these are used to formidable effect in the movie. The lakes, endless forests, and large trees all create a sense of loss and doom, as if there is no escape for the characters. This is one of the strongest aspects of SOUTHERN COMFORT, and something no studio could duplicate for its sheer realism. Photography by Andrew Laszlo is clear and precise, without ever making the location pretty which was not the intention with this film, which would have taken away its power, and sense of foreboding horror.

Notable Acting Performances: Keith Carradine, Powers Boothe, Alan Autry, Fred Ward, Les Lannom, Franklyn Seales, Lewis Smith, T.K. Carter.

Suitability for young viewers: No. Frequent coarse language, adult themes, high-level violence.

Overall Grade: A

Link: IMDB Page

Trailer